The Fan Studies Network

MEDIA INDUSTRY STUDIES: CURRENT DEBATES AND FUTURE DIRECTIONS

18-20 April 2018   King’s College London

International conference hosted by the Department of Culture, Media and Creative Industries, King’s College London

Jointly organized by:
Media Industries Scholarly Interest Group, Society for Cinema and Media Studies (SCMS)
Media Industry Studies Interest Group, International Communication Association (ICA)
Screen Industries Work Group, European Network for Cinema and Media Studies (NECS)
Media Industries and Cultural Production Section, European Communication Research and Education Association (ECREA)
Screen Industries Special Interest Group, British Association of Film, Television and Screen Studies (BAFTSS)
AG Medienindustrien, Gesellschaft für Medienwissenschaft (GFM)
Media Industries journal

HOST COMMITTEE
Paul McDonald (conference chair), Sarah Atkinson, Bridget Conor, Virginia Crisp, Jeanette Steemers

ADVISORY COMMITTEE
Elizabeth Evans (Media Industries), David Hesmondhalgh (ECREA), Derek Johnson (SCMS), Amanda Lotz (ICA), Alisa Perren (Media Industries), Kevin Sanson (Media Industries), Andrew Spicer (BAFTSS), Petr Szczepanik (NECS), Patrick Vonderau (GFM)

FOCUS
Studies of media industries have formed a distinctive strand of media scholarship. Foundational traditions in this field are marked by the political economy of communications, sociology of media occupations and institutions, media economics, media industry historiography, and critical and cultural studies. Subsequently, insights drawn from critical legal studies, cultural policy studies, economic geography, creative labour, cultural economy, Internet studies, production cultures and informal media economies have diversified and enriched the field.

In part this interest arises from contemporary changes within the media industries themselves, with the global extension and integration of media markets, digitalization of media production and distribution, changing business models, proliferation of supply channels, patterns of corporate convergence, and the blurring of producer/consumer relations. These are only the most recent development, however, of industries built on complex and contested histories.

With the boom in media industries scholarship and emergence of dedicated degree programmes or single modules, studies of industry have gained a visible place in media curricula. This conference is therefore providing an international and interdisciplinary forum for reviewing the past and present state of media industry studies, and defining the future of the field.

Papers, panels and workshop are invited from all traditions in media industries scholarship. We welcome work across the full breadth of media industries – print, publishing and journalism, advertising, recorded music, film/cinema, radio, television, video, games, mobile communications and social media – and in all international or historical contexts.

Thematic concerns include but are not limited to:

•       critical and conceptual perspectives
•       methodological approaches
•       cultural and creative industries
•       political economy
•       production cultures and studies
•       economic sociology
•       de-westernizing media industry studies
•       distribution studies
•       gatekeepers and intermediaries
•       cultural and economic globalization
•       impacts of digitalization
•       independent and alternative media institutions
•       media industries historiography
•       cooperative and competitive inter-industry interactions
•       law and the shaping of media industries
•       marketing and branding media content
•       media management
•       media markets and flows
•       retail and sales of media
•       networks, infrastructures and ecologies
•       ownership and concentration
•       policy and regulation
•       politics of media labour
•       teaching media industries
•       media technologies as these relate to media industries

SUBMISSIONS

Deadline: 23.00hrs GMT 15 September 2017

Submissions are welcomed in three categories: open call papers, pre-constituted panels, or pre-constituted workshops. Detailed requirements below.

Delegates can contribute to the conference in up to different two capacities, i.e. presenting both a paper and contributing to a workshop but not presenting two papers. Chairing a panel or workshop will NOT count as one of these roles. 

To submit your paper, panel or workshop, please access the submission portal – www.mediaindustrystudies.wordpress.com

1) Open call papers
Format: solo or jointly presented research papers lasting no more than 20mins. Submissions in this category must provide the following details:
Type:           State this is an open call research paper
Title:          Paper title
Name(s):                 Speaker(s)
Contact:                 E-mail address(es) for the speaker(s)
Abstract:               Description of the paper not exceeding 300 words
Sources:                List up to 5 sources relevant to the paper
Biography:              Brief professional biography/ies for the speaker(s) not exceeding 100 words
Keywords:                Up to 5 terms identifying the focus of the paper

2) Pre-constituted panels
Format: 90mins panel of 3 x 20mins OR 4 x 15mins thematically linked research papers followed by questions. Submissions in this category must provide the following details AS A SINGLE SUBMISSION.
Type:           State this is a pre-constituted panel
Title:          Panel title
Name(s):                 Chair(s)
Contact:                 E-mail address(es) for the chair(s)
Abstract:               Description of the panel not exceeding 300 words
Biography:              Brief professional biography/ies for the chair(s) not exceeding 100 words
Keywords:                Up to 5 terms identifying the focus of the panel

In addition, the submission must provide the following for EACH paper on the panel.
Title:          Paper title
Name(s):                 Speaker(s)
Contact:                 E-mail address(es) for the speaker(s)
Abstract:               Description of the paper not exceeding 300 words
Sources:                List up to 5 sources relevant to the paper
Biography:              Brief professional biography/ies for the speaker(s) not exceeding 100 words

3) Pre-constituted workshops
Format: 90mins interactive forum led by 4 or 5 x 8mins thematically linked informal presentations designed to energize collective discussion and participation amongst the speakers and the audience of matters relating to the practices of researching or teaching media industries. Submissions in this category must provide the following details AS A SINGLE SUBMISSION.
Type:           State this is a pre-constituted workshop
Title:          Workshop title
Name(s):                 Chair(s)
Contact:                 E-mail address(es) for the chair(s)
Abstract:               Description of the workshop not exceeding 300 words
Sources:                List up to 5 sources relevant to the workshop
Biography:              Brief professional biography/ies for the chair(s) not exceeding 100 words
Keywords:                Up to 5 terms identifying the focus of the workshop

In addition, the submission must provide the following for EACH presenter in the workshop.
Name(s):                 Presenter(s)
Contact:                 E-mail address(es) for the presenter(s)
Abstract:               Description of the presentation not exceeding 150 words
Biography:              Brief professional biography/ies for the speaker(s) not exceeding 100 words

For more than a century, the fashion industry and fashion marketing have actively participated in the enormous and progressive expansion of show business’ sphere of action, expression, behavior, and texts (an expansion further stretched – in the new millennium – by you tube, social networks , video games, and the domestication of entertainment).The last two decades have been marked by the dissemination, availability, and spreading of information about fashion products, fashion sites and events, and, most of all, of fashion personalities (designers, models, art directors, publicists). This availability of fashion imagination and consumption has intermingled with other practices and pleasures of show business, from filmmaking to red carpets. Conflating with movie watching, awarding, publicity, and gossip, the viewers’ expanded attention to fashion items has had a great impact on the general notion of /what/ public personalities are and what they look like. It has contributed to inflate the interest in celebrities and to enlarge the number of celebrities. It has exploded the ambition and desire of the hitherto unknown  to increase their own public self-exposure, enlarging  spectators’ experience of leisure and spectacle and the spaces of entertainment.

At the same time, celebrities can be generated outside the world of the show business and instead turn a crime, a scientific discovery, a political statement into entertainment and spectacle. The artist-as-celebrity , going back to Oscar Wilde if not earlier , has been joined by the artist as /fashion /celebrity, a phenomenon that arguably started with Andy Warhol , while the past twenty years have seen the emergence of the /sporting /‘fashion celebrity ‘ ; musicians from every genre can be part of the new fashion spectacle, if they are suitably photogenic. The general attractiveness of a myriad kind of celebrities, hybrid, hardly definable, open to dispute, has inflated and rendered more /visible/ the sphere of entertainment. Similarly, fashion was born when /couture/ inhabited restricted, private, and aristocratic conclaves: now expertise about clothing, style and image creation has entered the sphere of spectacle and entertainment. Fashion creates images and codes through which celebrities are conceived and exposed, reproduced. Fashion forges the celebrity text. In the new millennium “Our lives, our intellect, our religion, our creativity, our sexuality are all the vocabulary of fashion and are open for renegotiation and representation. Yet we view fashion as suspect, insubstantial, the stuff of dreams not reality” (Changing Fashion: A Critical Introduction to Trend Analysis and Meaning’ Annette Lynch, Mitchell Strauss, p. 1 ). This could also be said of contemporary celebrity, which shares withbfashion an ambivalent status, halfway between materiality and insubstantiality, where narration plays a pivotal role.

The general public’s enjoyment, contempt, and denigration of celebrities is based on personal narratives: stories about celebrities’ private lives, about their bodies and apparatuses: aesthetic surgery, clothes, technologies… This journal issue devoted to celebrity and fashion investigates the modes of verbal and visual narrations revolving around attractive personalities. How does this narrative factor, which supports the celebrity system , operate within and  influence the world of fashion, and how have the stories about fashion (films, biographies, but also publicity, gossip, events, spaces, architecture) influenced the world of show business?

To tackle the intriguing relationship between fashion and celebrity culture, we suggest the following topics:

*Influence, masses, populism*: democratization of fashion,
democratization of celebrity: conflicts and ambivalences between notions of ordinariness vs. exceptionality. Discourse about audiences as agents in the making of meanings concerning celebrities. Fashion seen as a vehicle of the mass appropriation of the means of construction of the celebrity’s image.

*Success, achievement, publicity: *Fashion publicity, fashion
branding**and the**culture of the branded self. Public versus private life, aristocratic exclusiveness versus egalitarism.

*Sponsorship and Internet celebrities*: Wide access to celebrity information through the social media: how does this generate new kinds of sponsorship on part of fashion brands? How do Internet personalities negotiate between their performance of authenticity and their fashion endorsement?

*Historical roots and new celebrities: *How is 20th century prototypes, i.e. the rock-star or the classical Hollywood star, influencing the culture of celebrity? Do new forms of celebrity (micro-celebrity,
anti-celebrity, subcultural-celebrity…) correspond to new styles and new circulation of fashion trends? Old and new atypical star bodies: their impact on fashion bodily stylizations. Fashion professionals turning into celebrities.

*Character versus Film Persona*. Film and television characters’ fashion styles interact with actors/actresses’ public personas. Are there celebrity icons who have become style icons due to their fictional characterizations more than their public appearance?

*Taste, disgust, anti-celebrity*. Celebrities as models of good or bad taste. Bad taste condemnation influencing the aesthetic canon. Anti-canon and celebrities’ social connotation (celebrity chav, rich
kids…). Anti-celebrity as a result of anti-fashion styles. How does a celebrity’s repudiation of a luxury style affect critical consumption? Style icons turning into celebrities: how does taste capital” isvtransformed into “celebrity capital”?

*Cumbersome celebrities and fashion fails*: celebrities might become detrimental to fashion brands: scandals can induce both rejection and employment of a testimonial. How do fashion brands react to celebrities’ lapses of style and fashion fails? Do these fall downs contribute to the construction of a celebrity?

Abstracts of no more than 1000 words + 5 bibliographical references (word-, doc format), written either in Italian or English, are be sent
to: zonemodajournal@unibo.it <mailto:zonemodajournal@unibo.it>

Abstract acceptance does not guarantee publication of the article, which will be submitted to a double-blind peer-review process. The length of the article should be comprised between 6000 / 7000 words.

Important dates:

– abstract submission deadline: June 15, 2017

– notification of acceptance/rejection: June, 30 2017 (notice of
acceptance might include comments and requests of explanations)

– full-lenght paper submission deadline: September 20,

– comments of the reviewers will be conveyed together with the
reviewers’ decision (approval with no changes, approval with major/minor changes, rejection) by October 16, 2017

– authors shall send the improved article to the editorial staff by
Novembre 6, 2017.

ZMJ7 is scheduled to be published at the end of 2017.

Special section Guest Editors Gary Sinclair, Michael Saren and Douglas Brownlie

Background
This special section of EJM will bring together the latest research and thinking about new questions for marketing that are highlighted by the revolution in the technologies of music reproduction and consumption. These may be based on various academic disciplines such as musicology, social marketing, marketing communications, consumer behaviour, management, cultural industries, sociology, psychology and others.

Music carries significance at individual, social, political, cultural and economic levels. The industries it has spawned as a recording and performance-based ‘product’ (among others) and its positon as an atmospheric in influencing consumer behaviour (Milliman, 1982) has long attracted the attentions of marketing academics and practitioners. Beyond the economic imperative, music has provided a context in which to explore broader issues concerning social class, subcultures and resistance (Hall and Jefferson, 1976), identity and the senses (Hesmondhalgh, 2008), gender (Goulding and Saren, 2009), commercial and artistic tension (Bradshaw et al., 2006) and materiality (Magaudda, 2011).

In particular, attention to issues of music production and consumption has intensified in recent years as a consequence of disruptive technologies (e.g. peer-to peer sharing) and the apparent economic ‘decline’ of the recording industry as a consequence. The influence of new digital technologies has been more pronounced in more ‘visible’ activities like the recording industry which may explain this focus by academics, practitioners and the mainstream media.

The ‘disarticulation’ of the marketplace status quo (Giesler, 2008) initially focused attention on the morality of consumers and strategies of technological containment whilst the industry tried to get to grips with the economic uncertainty of new music technologies. However, recent research is starting to broaden the discussion further and consider new questions for marketing that are highlighted by the revolution in the technologies of music reproduction and consumption that speak to individual, social, cultural and political issues rather than just economic-centred outcomes of disruptive music technologies.

Aims of the Special Section
It is the new questions for marketing that are central to the aims of this special section. For example, what can we learn from this context about contested issues such as ownership, the sharing economy, how our consumer data is tracked and used as a means of engagement? What about the strategic use of music by users in everyday life and producers in the marketplace? What can we add to our knowledge of consumer resistance, transformation and innovation from research on the ‘consumption’ and ‘production’ of music? How well do current fashionable marketing concepts and theories, such as value co-creation, consumer engagement and consumer tribes, apply to this new music techno-marketspace?

We welcome contributions that offer new ways of understanding how music is created, reproduced, stored, accessed and shared. EJM has actively published articles from a wide range of research traditions that develop novel approaches and intellectual developments across a variety of markets, including the arts, in a cutting-edge and contemporary fashion. In continuing this tradition we seek contributions that explore how traditional contexts of marketing and music research can be reviewed and critiqued in the context of evolving digital technologies of re/production

Potential Topics
Submissions should focus some important aspect(s) of the production, use and marketing of music and associated technologies. We encourage papers and commentaries that draw from a range of methodologies, stakeholders and inter-disciplinary frameworks to address issues and questions raised here. Topics may include, but are not limited to, those listed below:

• Music and the post-ownership economy
• The role of marketing in music practice
• The role of music in shaping space and place
• Innovation and transformation: This should focus on a variety of stakeholders (artists, promoters, consumers)
• Music communities
• Fandom and identity
• DIY and co-creation of music, consumer empowerment
• Music as a facilitator of the economy
• Materiality and intangibility
• Nostalgia and music generations
• Piracy and ‘ethical’ consumption of music
• Philosophy of technological change
• Commercial and artistic tension
• Big data and music

Any enquiries should be directed to the guest editors: Gary Sinclair: Gary.Sinclair@dcu.ie; Michael Saren: majs1@leicester.ac.uk or Douglas Brownlie: d.z.brownlie@dundee.ac.uk

Submitted papers must be a maximum of 10,000 words and comply with the guidelines for European Journal of Marketing. Instructions can be found at www.emeraldgrouppublishing.com/products/journals/author_guidelines.htm?id=ejm#11

Submissions are made online through the Scholar One system. Instructions are available on the author guidelines page. Please ensure you select this special section from the drop down menu provided as you go through the submission process.

The closing date for submissions is October 31st 2017

Illustrative Readings
Bradshaw, A., McDonagh, P., and Marshall, D. (2006). The alienated artists and the political economy of organised art. Consumption Markets & Culture, 9(2): 111–117.
Dennis, N. and Macaulay (2007). “Miles ahead” – using jazz to investigate improvisation and market orientation. European Journal of Marketing, 41(5-6): 608–623.
DeNora, T. (2000). Music in everyday life. Cambridge: Cambridge University Press.
Gamble, J. and Gilmore, A. (2013). A new era of consumer marketing?: An application of cocreational marketing in the music industry. European Journal of Marketing, 47(11/12): 18591888.
Garcia-Barididia, R., Nau, J.P., Rémy, E. (2011). Consumer resistance and anti-consumption insights from the deviant careers of French illegal downloaders. European Journal of Marketing, 45(11/12): 1789–1798.
Giesler, M. (2008). Conflict and compromise: Drama in marketplace evolution. Journal of Consumer Research, 34: 739–753.
Goulding, C. and Saren, M. (2009). Performing identity: an analysis of gender expressions at the Whitby goth festival. Consumption Markets & Culture, 12(1): 27–46.
Hall, S. and Jefferson, T. (1976). Resistance through rituals: Youth subcultures in post-war Britain. London: Hutchison.
Heidegger, M. (1977). The question concerning technology, and other essays. New York: Harper & Row.
Hesmondhalgh, D. (2008). Towards a critical understanding of music, emotion and self-identity. Consumption Markets & Culture, 11(4): 329–343.
Magaudda, P. (2011).When materiality “bites back”: Digital music consumption practices in the age of dematerialization. Journal of Consumer Culture, 11(1): 15–36.
Milliman, R. E. (1982). Using background music to affect the behaviour of supermarket shoppers. The Journal of Marketing, 46(3): 86–91.
Saren, M. (2015). ‘Buy buy Miss American Pie’ The day the consumer died. Marketing Theory, 565– 569.
Sinclair, G. and Tinson, J. (2017). Psychological ownership and music streaming consumption. Journal of Business Research, 71: 1–9.

‘The Football Collective’ is a dedicated International network of over 200 academics and practitioners across a range of disciplines (Sociology, Business Management, Economics and Finance, Political
Science, Gender Studies, History, Social Media and Fan Studies, Corporate Governance, Musicology etc). Through sharp analysis and research it has provided a platform for thought provoking critical debate in football studies. 

Football has always been political. For example, on 13th May 1990, just weeks after parties favouring Croatian independence had won the majority of votes in an election, a riot between the fans of
Dinamo Zagreb and Red Star Belgrade marked a game in the Maksimir Stadium. Zvonimir Boban, the Zagreb captain and future AC Milan star kicked a police officer who had allegedly been mistreating Croatian fans. Some argue that this moment marked the end of Yugoslavia,
with a devastating Civil War following soon afterwards and many of the protagonists on that day swapping the terraces for the front lines. 



The bodies of clubs, players and fans are enmeshed with politics. Clubs have been born as a result of population upheavals and migration; have been associated with ethno-national and religious communities,
and political ideologies and parties to name but a few. In the contemporary context, football continues to be tied to political events and symbols. The ongoing movement of people into Europe has witnessed voices raised by football supporters both in support
of and opposition to migration. Racism and anti-racism practices play out on and off the pitch. Broader contemporary international political controversies such as the prohibition of the flag of the Palestinian State, the wearing of symbols such as the British
poppy or the commemoration of Irish Independence continue to spark controversy among player and fan communities alike.



Football also manifests at times in artefacts of music and broader popular culture. Football chants for example are a sophisticated socio-political activity, which connect to early forms of communication
where humans used music, chant, and dance to bond as social groups. ‘Performance’ also has a unique ability to make difference visible and audible, and songs in particular have been shown to have powerful agency in the negotiation of ‘Self’ and ‘Other’. 



We invite you to join us at the University of Limerick, on Thursday and Friday 23rd – 24th November 2017 for the Annual Conference of The Football Collective which is organized in association with
the Popular Music and Popular Culture Research Cluster @UL. “Football, Politics and Popular Culture” will bring together interdisciplinary football researchers, academics and students to share research findings, interests, stories, and methods, in order to
develop better research and collaboration across the Collective. We will also host guests from outside of the academy. In this conference, we therefore particularly welcome papers that address (but are not limited to) football and the following: 



• Migration

• Racism

• Islamophobia/anti-Muslim racism

• Ethno-national formation

• Conflict (Ethno-national, Ideological, Sectarian etc.)

• Sectarianism

• Identities

• Class politics

• Gender and Sexualities

• Fan culture 

• Political songs / chants

• Its representation in popular culture (including film and literature)



The conference is designed to offer opportunities for all to present research, research ideas, potential projects, and innovative methods of data collection or public engagement. Thus it aims to discuss
research that (a) has been undertaken, to share findings and gain insight and feedback on data analysis, representation, and potential outputs (b) is being proposed as a potential option for the Collective group to understand an existing issue or (c) has been
published, to share findings and discuss future research needs. Please submit a Word document containing your paper title, a 250 word abstract, and author information including full name, institutional affiliation, email address, and a 50-word bio to footballconference2017@ul.ie
by 6th September 2017. A maximum of 20 minutes will be allocated to each conference paper. Panel proposals (three presenters – 60 minutes) should include a 150 word overview and 250 word individual abstracts (plus author information listed above). We also
welcome proposals for workshops, film screenings, performances etc. We particularly encourage submissions from PhD scholars and early career researchers. Notifications regarding acceptance will be sent by 15th September 2017.



Conference Conveners:

Dr. James Carr, Dept. of Sociology, University of Limerick.

Dr. Martin Power, Dept. of Sociology, University of Limerick.

Dr Stephen Millar, Popular Music & Popular Culture Research Cluster, University of Limerick.



For further information please contact: footballconference2017@ul.ie

University of Turku

12–13 October, 2017

Confirmed keynote speakers: Crystal Abidin (Jönköping University / Curtin University), Kath Albury (Swinburne University of Technology), Nancy Baym (Microsoft Research New England) and Ben Light (University of Salford)

From clickbaits to fake news, heated Facebook exchanges, viral Twitter messages and Tinder swipes, the landscape of social media is rife with affective intensities of varying speeds and lengths. Affect, as the capacity to relate, impress and be impressed, creates dynamic connections between human and nonhuman bodies. Zooming in on these connections, their intensities, rhythms, and trajectories in the context of networked communications,Affective Politics of Social Media asks how affect circulates, generates value, fuels political action, feeds conflict and reconfigures the categories of gender, sexuality and race through and across social media platforms.

Multiple analytical avenues have already been laid out for doing this, from Jodi Dean’s examination of affect and drive to Tarleton Gillespie’s analysis of the politics of platforms, Adi Kuntsman’s examination of “webs of hate” and Zizi Papacharissi’s discussion of affective publics as contagious articulations of feeling that bring forth more or less temporary sense of community and connection. Building on a growing body of work on “networked affect”, this two-day symposium features keynotes exploring the affective labour of social media influencers, the automation and quantification of the intimate, the netiquette of hook-up apps and the dynamics of music stardom and fandom, and invites contributions connected to affect and social media in relation to

• collective action and political activism
• sexual cultures and practices
• harassment, hate and resistance
• affective rhythms, intensities and investments
• popular culture and everyday life

In order to facilitate participation, the symposium has no registration fee but pre-registrations are required. To propose a paper, please send a 300-word abstract and short bio (max. 100 words) toaffective@utu.fi by June 9, 2017. Registrations will be made available in August 2017.

Organized by Department of Media Studies, IIPC, the International Institute for Popular Culture & DIGIN, Research Network on Digital Interaction at University of Turku and the Department of Gender Studies at Åbo Akademi University.

Organizing group: Susanna Paasonen, Kaisu Hynnä, Katariina Kyrölä, Mari Lehto, Mari Pajala & Valo Vähäpassi

We invite new work that will deepen and expand the discourse about soundtrack albums. The soundtrack album endures across decades, formats (vinyl, 8-track, cassette, compact disc), and delivery systems (radio, physical media, online, streaming services). Perhaps the most obvious, and yet under-examined, media paratexts, soundtrack albums have never simply promoted a Broadway show, film, television program, video game, comic book, or recording artist. Rather, they directly shape our understanding, enjoyment, and criticism of the media texts they accompany. Soundtrack albums are themselves complex media texts whose production and reception require careful analysis. Several academic presses have expressed strong interest this project.

We seek a global address of soundtrack albums and contributions from a multi-disciplinary slate of authors, including children’s media scholars, musicologists, sound studies scholars, and media industry scholars. Authors are invited to consider the history of soundtrack albums, and how artists, industries and listeners continue to use, define, and create such audio material. Suggested topics include (but are not limited to):

• Albums for books, broadway shows, and media beyond film and TV
• Soundtrack albums in global contexts such as Indian filmi records
• Disney and other children’s media albums
• Sequel soundtrack albums such as More Dirty Dancing
• The history of soundtrack album sales and promotion
• Works such as Judgment Night where the film “creates” new audio texts
• Fan-made (“unofficial”) soundtrack albums
• Albums featuring music “inspired” by the film
• Audio material that invites audiences to re-interpret (re-hear) audio-visual media
• Soundtrack albums whose critical and/or financial success surpasses the film’s success
• Albums for “concert” films such as Woodstock and Wattstax
• Playlists, streaming audio services and emerging (re-)definitions of the soundtrack album
• Cult soundtrack albums for cult and non-cult films
• Synergy and cross-promotion between audio-visual texts and albums
• “Curated” soundtrack albums by artists such as RZA and Trent Reznor
• Soundtrack albums for imaginary films such as Barry Adamson’s Moss Side Story
• Audio compiliations that include music from more than one film or TV program

For consideration, please provide a brief bio and 400-600 word proposal
via this Google form: http://bit.ly/soundtrackalbumproposal no later than August 1, 2017. Please contact Paul N. Reinsch (paul.n.reinsch@ttu.edu) or Laurel Westrup (lwestrup@humnet.ucla.edu) with any questions.